Camilla Watson photography and its impact in the social production of public space in a neighbourhood (Mouraria) in the inner city of Lisbon

  Chapter 7 Camilla Watson photography and its impact in the social production of public

  space in a neighbourhood (Mouraria) in the inner city of Lisbon Madalena Corte-Real; Maria João Monteiro Gomes Abstract

  ;OPZ YLZLHYJO HUHS`ZLZ [OL L_[LU[ [V ^OPJO [OL WOV[VNYHWOPJ ^VYR VM *HTPSSH >H[ZVU OHZ HɈLJ[LK [OL ZVJPHS WYV- K\J[PVU VM ZWHJL PU H KPZ[YPJ[ VM [OL OPZ[VYPJHS WHY[ VM 3PZIVU ;OPZ WHY[PJ\SHY W\ISPJ HY[ PU WSHJL L_OPIP[Z [OL LSKLYS` YLZPKLU[Z [OYV\NO WPJ[\YLZ KPZWSH`LK PU [OL ULPNOIV\YOVVK»Z W\ISPJ ZWHJLZ 0U H JVU[L_[ VM [YHUZMVYTH[PVUZ [OH[ the territory is undergoing, the analysis aims to understand how far it contributes to change the way the area is socially produced in terms of spatial practice, representational space and representation of space. ;^V RPUKZ VM L_WLYPLUJLZ ^LYL JVUZPKLYLK" [OH[ VM [OL YLZPKLU[ HUK [OL ]PZP[VY TLHUPUN [^V NYV\WZ [OH[ WLYJLP]L JVUJLP]L HUK SP]L [OL WSHJL PU ]LY` KPɈLYLU[ ^H`Z )HZLK VU [OL PUMVYTH[PVU MYVT V\[ZPKL [OL ULPNOIV\YOVVK HZ ^LSS HZ MYVT YLZPKLU[Z PU]VS]LK PU [OL WYVQLJ[ [OL PU[LU[PVU PZ [V JHW[\YL [^V KPɈLYLU[ JVUZ[Y\J[LK YLHSP[PLZ HUK [V JVTWHYL [OL ^H` [OL ^VYR PZ \UKLYZ[VVK HUK MLS[ PU [OVZL JVU[L_[Z For the residents the artistic work has been accepted, approved and appropriated because it became part of their KHPS` YV\[PUL LU]PYVUTLU[ -YVT HU L_[LYUHS WVPU[ VM ]PL^ [OL HUHS`ZLK HY[ WYVQLJ[ IPUKZ [OL VSK X\HY[LY ^P[O [OL new one. By being part of the new creative scene it links the new visitors with the longstanding residents, helping [V YLKLÄUL [OL ^H` SVJHSZ HYL WLYJLP]LK HUK OV^ [OL HYLH PZ L_WLYPLUJLK

  Keywords:

  ZWHJL WYVK\J[PVU L_WLYPLUJL W\ISPJ HY[ PU WSHJL

  1. Introduction

  This chapter focuses on the eventual impact of art in the social production of space, considering as a case Z[\K` *HTPSSH >H[ZVU»Z WOV[VNYHWOZ PU 4V\YHYPH 0[ PZ W\ISPJ HY[^VYR KL]LSVWLK ^P[O [OL JVTT\UP[` PU HU PUULY JP[` neighbourhood of Lisbon.

  Our hypothesis, considering this case study, is that the cultural production of urban space, intentionally or UV[ JVU[YPI\[LZ [V [OL [YHUZMVYTH[PVU VM [OL \YIHU LU]PYVUTLU[ ^OPJO HɈLJ[Z OV^ P[ PZ L_WLYPLUJLK HUK \S[PTH[LS` generates new practices.

  0U [OPZ ZLUZL [OL YLZLHYJO X\LZ[PVU IHZLK VU 3LMLI]YL»Z [OLVY` HKKYLZZLZ how far Camilla Watson’s photography contributes to the production of space.

  <UKLY [OPZ HUHS`ZPZ P[ PZ PTWVY[HU[ [V \UKLYZ[HUK [OL L_[LYUHS perception of the territory, considering in what way this work became an intrinsic element of it, and to acknowledge [OL SVJHS WVW\SH[PVU»Z WLYJLW[PVU VM ILPUN WHY[ VM [OPZ WYVQLJ[ The research starts with a brief description of Mouraria and the socio-spatial changes that have been taken place, followed by a description of the photographic interventions. Theoretically, three interrelated concepts were considered that frame the analysis: public art

  \UKLY [OL JVU[L_[ VM the social production of space and the way it is experienced. The applied methodology aims to characterize and assess the potential contribution of this artistic

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2. Mouraria in a Context of Socio-Spatial Transformation

  The area that is being studied is a neighbourhood on a downhill slope with narrow and labyrinthine streets that has about 5,800 inhabitants. The territory received people from rural areas that came to Lisbon to work. They JVU[YPI\[LK [V [OL KL]LSVWTLU[ VM H WHY[PJ\SHY \YIHU WVW\SHY J\S[\YL *VZ[H [OH[ JHU IL PKLU[PÄLK PU [OL inner city neighbourhoods in Lisbon marked by practices like Fado music, the festivities to celebrate the day of the T\UPJPWHSP[` YP]HSY` HTVUN KPɈLYLU[ OPZ[VYPJ ULPNOIV\YOVVKZ [OL YLSPNPV\Z WYVJLZZPVU P[Z UHYYV^ TVYWOVSVNPJHS layout, the traditional trade and the local organizations. These are all elements that nurture a strong connection between the locals.

  Especially in the last decades, the territory has been receiving an immigrant population that has introduced H T\S[PJ\S[\YHS H[TVZWOLYL [OH[ PKLU[PÄLZ [OPZ HYLH PU WHY[PJ\SHY ^P[O WLVWSL MYVT ZV\[O (ZPH HUK *OPUH ^OV OH]L opened stores and warehouses, restaurants, grocery shops and supermarkets.

  Currently the area is becoming attractive for new residents, including students and young people with high X\HSPÄJH[PVUZ HUK HY[PZ[Z UHTLS` ,\YVWLHU MVYLPNULYZ ^OV HYL H[[YHJ[LK [V [OPZ LU]PYVUTLU[ PU [OL OPZ[VYPJHS WHY[ of the city.

  :PUJL H [YHUZMVYTH[PVU WYVJLZZ OHZ ILLU PUP[PH[LK SHYNLS` [YPNNLYLK I` [OL T\UPJPWHSP[` PU ÄUHUJPHS HUK Z[YH[LNPJ [LYTZ ( T\S[P [HYNL[LK WYVNYHT PZ ILPUN PTWSLTLU[LK ILJH\ZL [OL [LYYP[VY` ^HZ PKLU[PÄLK HZ H Y\U KV^U

HYLH HɈLJ[LK I` [OL KL[LYPVYH[PVU VM [OL W\ISPJ YLHST HUK I\PSKPUNZ HZ ^LSS HZ ZVJPHS WYVISLTZ [OH[ OHK [V IL

  HKKYLZZLK PUJS\KPUN THU` LSKLYS` YLZPKLU[Z H SVJHS WVW\SH[PVU ^P[O SV^ X\HSPÄJH[PVUZ HUK OPNO \ULTWSV`TLU[

WYVZ[P[\[PVU HZ ^LSS HZ KY\N [YHɉJRPUN HUK JVUZ\TW[PVU

  Fado, a music genre, developed during the nineteenth century in the popular neighbourhoods of Lisbon, is invariably part of Mouraria and as a central element of local identity, it was considered an important lever in the promotion of the territory.

  Mouraria is being used to market the image of a multi-cultural, open and tolerant cosmopolitan city. Several events are being held such as the Festival for Everyone (Festival Todos) initiative - Walk of the Cultures, ^OPJO OHZ [HRLU WSHJL L]LY` `LHY ZPUJL HUK HZ Z[H[LK I` [OL JP[` JV\UJPS HPTZ [V KLÄUL 3PZIVU HZ H JP[` committed to the dialogue between cultures, between religions and between people of diverse backgrounds and generations. According to the municipality it has contributed to the destruction of territorial ghettos associated ^P[O PTTPNYH[PVU VWLUPUN \W [OL JP[` O[[W! MLZ[P]HS[VKVZ JVT PU[YV OVTL Apart from the key actors undertaking socio-cultural interventions like local charities, numerous players were attracted to the territory due to a sudden recognition of its potential. An area that was previously not recommended [V ^HSR [OYV\NO PZ UV^ ILJVTPUN [YLUK` HUK JH\ZPUN H YPWWSL LɈLJ[ PU [OL Z\YYV\UKPUN HYLH ;OLZL UL^JVTLYZ HYL creating new spaces for leisure and consumption attracting new residents and visitors as well as devolving a new sense of security to the territory. There is an increasing presence of guided walks and other tourists that wander around in the area.

3. The Empirical Object - A tribute to the People of Mouraria

  Camilla Watson settled in Mouraria by chance in 2007. On her way to São Tomé e Principe the photographer made a stop in Lisbon. She became enchanted with the area where she bought an apartment and has her workplace. She began to establish a relationship with her neighbours who passed by her studio, which is always

  VWLU 0U ZOL OHK [OL PKLH VM W\[[PUN WPJ[\YLZ VU [OL Z[YLL[»Z ^HSSZ LP[OLY KPYLJ[S` VY VU ^VVK

  6UL VM [OL WYVQLJ[Z ÄUHUJLK I` [OL T\S[PJ\S[\YHS Festival Todos is called Tribute: a way of thanking the hospitality received since moving to Portugal and honouring her neighbours. Based on the same technique, the photographer also did two other projects. One was called Inside Out

  HUK KVLZ UV[ L_PZ[ HU`TVYL ;OL HPT ^HZ [V KVJ\TLU[ [OL renovation of a building as well as to photograph the people in the area. The other project was about Fado done in 2013, both were commissioned by the city council.

  According to the artist the intention of all these works, apart from its aesthetic concern, is the collaboration with the local community. It was a cooperative process in which those involved accepted to be part of it and chose the images that went on the walls. In the case of the Fado project the people in the borough, the families that have

ILLU [OLYL MVY NLULYH[PVUZ HSS OH]L ZVTL SPUR ^P[O -HKV (IV\[ LPNO[ VM [OL WLVWSL PU [OL L_OPIP[PVU OH]L HSYLHK`

  KPLK ZV [OL WOV[VNYHWOLY ^VYRLK ^P[O [OL YLSH[P]LZ [V ÄUK VSK PTHNLZ ;OL [^LU[` ZP_ L_OPIP[LK T\ZPJPHUZ HUK singers have some link to Mouraria and in this sense it is a project about the community, its history and its music. >H[ZVU»Z WOV[VNYHWOPJ ^VYR Tribute consists of prints of elderly people from the community displayed on the YV\NO [L_[\YLK ^HSSZ YLÅLJ[PUN [OL WLVWSL [OH[ OH]L [OLTZLS]LZ ILLU THYRLK I` [OLPY [V\NO SP]LZ ;OL HLZ[OL[PJ X\HSP[` VM [PTL PZ YLÅLJ[LK PU OLY ^VYR TLYNPUN YLHS WLVWSL HUK YLHS I\PSKPUNZ YLPUMVYJPUN [OL PTHNL VM P[Z \UP[` and dependency.

  ;OPZ WOV[VNYHWOPJ ^VYR PZ HU L_HTWSL VM HY[ JYLH[LK HUK NLULYH[LK PU HUK MVY [OL W\ISPJ YLHST VM 4V\YHYPH /LY material is the ordinary people and buildings; the images capture an imprisoned reality of the daily lives of its residents enhancing perceptions and meanings of this particular neighbourhood. ;OLYL PZ H JVU[PU\P[` IL[^LLU [OL L_WLYPLUJL VM [OL ^VYR VM HY[ HUK [OL L]LY`KH` SP]LZ VM [OL YLZPKLU[Z 0[ NP]LZ HU PU[YVK\J[PVU [V [OL ULPNOIV\YOVVK HU \UL_WLJ[LK PUZPKLY»Z WLYZWLJ[P]L MVY [OL ]PZP[VY VM [OL JVTT\UP[`»Z atmosphere, revealing the lives of the local residents and getting closer to them. The photographer states that the feedback has been very positive:

  ;OL` YLHSS` SPRL P[ HUK [OL WLVWSL VU [OL ^HSSZ [OL` SV]LK P[ [OL` ^HU[LK [V IL VU [OL ^HSSZ ZV P[»Z H Z\JJLZZ in terms of a collaboration (...) Their response would be I was born here, I lived here, and all my family is here so I think it gives a sense of territory which I think it is really good when so much is changing. We have a lot of new people moving, it gives them a sense of their history. These people are the ones who made the area what it is. (…) some people think it is negative but interestingly not the people who have been OLYL H SVUN [PTL [OL` B[OL UL^JVTLYZD KVU»[ SPRL [OL [V\YPZ[Z [OH[ JVTL HUK ZLL [OL WPJ[\YLZ ¯ ;OLYL are three or four people that I know who complain about tourists all the time but it is not the people who have been here for generations (…) I think they mind [the longstanding residents] when the prices go up, [OH[»Z [OL KV^U ZPKL [OLYL PZ UV JVU[YVS V]LY [OL YLU[Z [OH[»Z [OL VUS` KV^U ZPKL 0 [OPUR ;OH[»Z OV^ JP[PLZ change unfortunately.

  People are celebrated on the old walls of the neighbourhood that are comprised of successive sediments of centuries of the city of Lisbon, printing onto them an additional memory. The work has a humanizing character in a territory that has been successively forgotten and neglected. It depicts neighbours who seem to have been caught up in their daily lives in ordinary clothes without make-up or staged scenarios. Ordinary people become part of the urban fabric establishing a connection between the photographed and the walls. Interestingly nobody tried to destroy or vandalize the work. Once someone wrote on a picture and then somebody

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  Although commissioned for a particular event, Watson considers Tribute to be a hobby and the project as being part of her community. For the photographer this is an ongoing project. The artwork will stay alive so long as people keep requesting new photographs to be displayed. )\[ P[ PZ HSZV HU LWOLTLYHS WYVQLJ[ 0U H JVU[L_[ VM JOHUNL PU ^OPJO THU` [YHUZMVYTH[PVUZ OH]L ILLU VJJ\YYPUN in the area, this could seem like a form of eternalizing the longstanding residents and to preserve the past, but as stated by the photographer the pictures only have a limited durability and then they will fade.

4. Three Main interrelated Concepts

4.1 Public-Art-In-Place

  Public art is considered to be art that takes place outside conventional spaces like museums and galleries, put in the physical public domain intended to be accessible to everyone and in this sense it has to consider the YLSH[PVU IL[^LLU [OL HY[PZ[PJ VIQLJ[ HUK [OL W\ISPJ JVU[L_[ 4PSLZ W " -PURLSWLHYS W " 1HU\JO[H :aVZ[HR W 0[ PU]HYPHIS` HɈLJ[Z [OL \YIHU ZWHJL PUKP]PK\HSPaPUN P[ I\PSKPUN H UL^ PKLU[P[` VM WSHJL HUK contributing to the creation of spaces (Sharp, Pollock & Paddison, 2005, p. 1004; Januchta-Szostak, 2010, pp.

  81-82). The latter refers to the way that the unique form of artworks makes them stand out from the surroundings. Art provides spatial tags helping with orientation and navigation and also as anchor-points on mental maps of the inhabitants and tourists.

  The act of placing art in a certain space tends to give meaning to the object and the space itself. For Remesar (2005, p. 134), there is a clear distinction between spaces for art and public art in place with the latter, in its global

  7\ISPJ HY[ ^VYRZ HZ H Z`TIVS NLULYH[PUN HUK LUOHUJPUN JVNUP[P]L HUK VY HIZ[YHJ[ TLHUPUNZ VM ZWHJL 0U addition to an aesthetic perspective, public art has an urban component that establishes a reciprocal relationship ^P[O [OL Z\YYV\UKPUN ZVJPV ZWH[PHS JVU[L_[ 0[ VJJ\YZ IL[^LLU [^V WVSLZ PU ]PL^ VM W\ISPJ ZWHJL! VU [OL VUL OHUK P[ PZ HY[ YLNHYKLK HZ H W\ISPJ VIQLJ[ H Z\IQLJ[ VM ILH\[PÄJH[PVU KL[HJOLK MYVT [OL LU]PYVUTLU[ VU [OL V[OLY P[ PZ art within the city (art as reciprocally connected to its surrounding dynamics).

  • \YYLU[S` \YIHU HY[PZ[PJ PU[LY]LU[PVUZ HYL H YLJ\YYLU[ PUZ[Y\TLU[ VM [LYYP[VYPHS YLX\HSPÄJH[PVU )` YLKLÄUPUN the urban environment, it triggers or emphasizes the social transformation of urban spaces. Miles (1997, p. 2) refers [V P[Z ZPNUPÄJHUJL PU [OL JVU[L_[ VM [OL JVU]P]PHS JP[` HUK YLSH[LK Z[YH[LNPLZ VM WSHJL THRPUN HUK [OL YLKLÄUP[PVU VM public space. Sharp, Pollock & Paddison (2005, p. 1004); Hall and Roberson (2001, p. 5, 10) critique the use of W\ISPJ HY[ PU \YIHU YLNLULYH[PVU HUK X\LZ[PVU [OL L_[LU[ [V ^OPJO [OL` YLHSS` OLSW JVTT\UP[PLZ PU Y\U KV^U PUULY city areas. In the present case study, the focus is on the relationship between public art and the place making, particularly PU [OL JVU[L_[ VM WO`ZPJHS \W NYHKPUN VM H [LYYP[VY` HUK OV^ MHY P[ OHZ JVU[YPI\[LK [V [OL ^H` [OL [LYYP[VY` PZ characterised.

  4.2 The production of Space

  ;OL ZVJPHS WYVK\J[PVU VM ZWHJL PZ H ZVJPHSS` WYVK\JLK YLHSP[` PU [OL JVU[L_[ VM H WHY[PJ\SHY ZVJPL[` 0[Z spatial production, according to Henri Lefebvre (1991 [1974], pp. 33, 38, 39) arises from the interconnection of three processes:

  • Spatial practice, meaning the material and social dimension of an activity. Closely associated with the perceived space;
  • Representations of space, as the dimension of spatial conception and description, connecting perception and lived space, becoming an organizing factor or framework with impact on spatial practice; - Representational space, concerns the meanings and the relationships established with the lived space. It overlays physical space, making symbolic use of its objects.

  0U [OPZ HY[PJSL ^L PU[LUK [V HWWYVHJO [OL ULPNOIV\YOVVK HUK [OL L_WLYPLUJL VM [OL W\ISPJ YLHST ^OLYL [OL intervention stands through the re-appropriation of these processes, analysing it as a social production process. ;OL WYVK\J[PVU VM ZWHJL L_PZ[Z HZ H JVTWSL_ HUK T\S[PKPTLUZPVUHS YLHSP[` :V PU [OL ZHTL ^H` 3LMLI]YL HKKYLZZLZ [OYLL TVTLU[Z VM ZVJPHS ZWHJL ^P[O H WOLUVTLUVSVNPJHS JOHYHJ[LY JLU[YLK PU [OL IVK`»Z L_WLYPLUJL! [OL perceived, the conceived and the lived. The three dimensions of the production of space are auto-productive of the individual and society (Lefebvre, 1991 [1974], p. 40).

  4.3 The Experience

  (JJLZZ [V [OL HY[PZ[PJ PU[LY]LU[PVU PZ UV[ YLZ[YPJ[LK [V H ZWLJPÄJ TH[LYPHSP[` I\[ [V H YLHSP[` MLS[ HUK [OV\NO[ HZ HU L_WLYPLUJL 8\V[PUN @P -\ ;HUN B D W ¸L_WLYPLUJL PZ H JV]LY HSS [LYT MVY [OL ]HYPV\Z TVKLZ through which a person knows and constructs a reality”.

  ;OPZ Z[\K` JVUJLYUZ [^V [`WLZ VM L_WLYPLUJL [OL YLZPKLU[ VY X\V[PKPHU L_WLYPLUJL HUK [OL ]PZP[VY L_WLYPLUJL They represent two distinct ways of constructing realities and the production of space. As Rapoport (1990 [1982], W Z[H[LZ [OL HJ[P]P[`»Z JVTWVULU[Z VY [OL KL[HPSZ VM [OL HJ[P]P[` WYVWLY ^H` VM KVPUN P[ HZZVJPH[LK HJ[P]P[PLZ and meaning), are determining factors when sharing the perceived attributes and meanings associated to them.

  ;OL KHPS` L_WLYPLUJL VM YLZPKLU[Z OHZ H WYL]HPSPUN M\UJ[PVUHS HPT ^OPJO YLZ\S[Z PU [OLT OH]PUN H TVYL operational

  

perception of place (Appleyardd, 1973, p. 109). This condition is dominated by a body-memory and the cognitive

  abstraction from the environment granted by the repetition of routines. There is a physical and emotional stability, a reliable connection with the environment, which allows a state of obliviousness (Seamon, 1979, pp. 103-105). ;OL ]PZP[VY»Z L_WLYPLUJL PZ MVJ\ZLK HYV\UK SLPZ\YL HJ[P]P[PLZ HUK PZ [OLYLMVYL KVTPUH[LK I` H responsive and

  

inferential perception of place. The visitor gazes the public realm with an open and active attitude, watching it and

  JVTWHYPUN P[ ^P[O [OLPY L_WLJ[H[PVUZ (WWSL`HYKK W ;OL WLYJLW[P]L H[[P[\KL VM watching is an active

  (UV[OLY PTWVY[HU[ KPZ[PUJ[PVU IL[^LLU [OL X\V[PKPHU HUK SLPZ\YLS` L_WLYPLUJL VM [OL LU]PYVUTLU[ PZ [OH[ as Yi-Fu Tang (1990 [1974]:64-65) states, the visitors evaluation, the view from the outsider, is essentially aesthetic. ;OL V\[ZPKLY Q\KNLZ I` HWWLHYHUJL I` ZVTL MVYTHS JHUVU VM ILH\[` (S[OV\NO Z\WLYÄJPHS P[ PZ H MYLZO ]PL^ VM[LU able to perceive merits and defects in an environment that are no longer visible to the resident.

5. The Method

  This chapter presents the methodology used to determine how far the cultural production of urban space, deliberately or not, contributes to the transformation of the urban environment. )HZLK VU [OL WYLTPZL Z\Z[HPULK I` [OL [OLVYL[PJHS HWWYVHJO P[ PZ JVUZPKLYLK [OH[ [OL L_WLYPLUJL VM [OL W\ISPJ realm is determined not only by the socio-spatial dimension and the individual characteristics of the walker, but HSZV I` [OL ZWLJPÄJP[PLZ VM [OL L_WLYPLUJL

  ;V [HRL PU[V HJJV\U[ L_[LYUHS YLMLYLUJLZ KPɈLYLU[ VUSPUL YLWVY[Z MYVT [OL UH[PVUHS HUK PU[LYUH[PVUHS WYLZZ blogs, city guides) were considered as they provide a huge amount of current and up to date information. The intention was to capture the symbolic representations projected in the last few years about the territory and the WHY[PJ\SHY WOV[VNYHWO` WYVQLJ[Z [OYV\NO HU L_WSVYH[VY` YLZLHYJO HUK JVU[LU[ HUHS`ZPZ ;OPZ ZV\NO[ [V HUZ^LY the following questions: how often are the pictures referred to? What is transmitted about these projects and by whom?

  Visitors were questioned about characteristics of the neighbourhood in the past, how it has changed, as well as the aspects that have persisted. Within this framework the respondents were also asked how the HY[PZ[»Z ^VYR PZ WLYJLP]LK :VJPV KLTVNYHWOPJ PUMVYTH[PVU SPRL [OL HNL NLUKLY UH[PVUHSP[` WYVMLZZPVU HUK SL]LS VM education of the interviewees was also taken into account.

  Some of the photographed were interviewed in order to understand how they dealt with the process of

ILPUN L_WVZLK HUK ILJVTPUN TH[LYPHSS` ZWLHRPUN WHY[ VM [OL ULPNOIV\YOVVK I\PSKPUNZ ;OL HPT ^HZ [V \UKLYZ[HUK

  OV^ [OLPY SP]LK L_WLYPLUJL VM [OL Z[YLL[Z OHK JOHUNLK 0U [OPZ JVU[L_[ [OL X\LZ[PVUZ HKKYLZZLK ^OL[OLY [OL` photographic portraits were recognized by their neighbours and the visitors and how they felt about it. Locals were also asked about what has changed and what has stayed the same in the area.

6. Data Analysis

6.1 Camilla’s Work on the Web

  6USPUL [YH]LS HY[PJSLZ MYVT UL^ZWHWLYZ HUK THNHaPULZ [YH]LS ZP[LZ HUK WLYZVUHS ISVNZ VɈLY HU LUVYTV\Z HTV\U[ VM PUZPNO[ HIV\[ 4V\YHYPH HUK *HTPSSH >H[ZVU»Z ^VYR ;OL HUHS`ZPZ VM [OPZ VUSPUL TH[LYPHS YLÅLJ[Z [OL evolution of a territory in transformation, from a run-down area to an area increasingly themed around leisure and [YH]LS /LY ^VYR PZ HU L_HTWSL VM ZVTLVUL ^OV IYLHRZ [OL Z[PNTH [OH[ Z[PSS HɈLJ[Z [OPZ OPZ[VYPJ ULPNOIV\YOVVK VM

  3PZIVU JSHPTZ H ^LIZP[L PU O[[WZ! ]PTLV JVT “Walks in the inside” written by an inhabitant of Lisbon, reveals the use of the street as a stage by making the photographic production an outdoor installation, in a natural environment. The relation with the local community is

LUOHUJLK 0[ L_WSHPUZ [OH[ K\YPUN [OL ^VYR [OL WOV[VNYHWOLY JVU[HJ[Z HUK SPURZ ^P[O [OL PUOHIP[HU[Z YLIV\UKPUN

  [OL ¸SVJHS ZV\S¹! ¸4V\YHYPH ^P[O VWLU HYTZ¹ ;OL HY[ PZ YLPUJHYUH[LK PU [OL \YIHU SHUKZJHWL ;OL HY[PZ[»Z [LJOUPX\L PZ HSZV L_WVZLK! [OL WOV[VNYHWOZ HYL KL]LSVWLK PU H WYLMHIYPJH[LK H[LSPLY H KHYRYVVT ^P[O ISHJR WSHZ[PJ \ZPUN H OHUKTHKL WYVJLZZ O[[W! T`N\PKL PVS W[ WYVÄSLZ ISVNZ WHZZLPVZ JH KLU[YV JHTPSSH Also in 2011 the Guardian

  ^YP[LZ HIV\[ Z[YLL[ HY[ PU 3PZIVU ZH`PUN [OH[ ¸/LY L_OPIP[Z OH]L WYV]LK WVW\SHY ^P[O SVJHSZ HUK ]PZP[VYZ HUK ^PSS YLTHPU PU WSHJL PUKLÄUP[LS` M\UKPUN WLYTP[[PUN¹ O[[W! ^^^ [OLN\HYKPHU JVT [YH]LS QHU NYHɉ[P Z[YLL[ HY[ SPZIVU WVY[\NHS Some online accounts of her work refer to the fact that it immortalizes local inhabitants and preserves local PKLU[P[PLZ ( ISVN PU [HSRZ HIV\[ ¸[OL OPZ[VYPJ ZSLLW` KPZ[YPJ[ VM 4V\YHYPH ¯ P[»Z YHYL [V ÄUK VSKLY VYKPUHY` MVSR given the limelight in works of art. I hope that these pieces will leave the legacy they intended to create and that [OL` ^PSS IL WYLZLY]LK HUK [YLHZ\YLK I` [OL JVTT\UP[` HUK [V\YPZ[Z HSPRL¹ O[[W! ^^^ MVVKHUK[OLMHI\SV\Z JVT YLJPWLZ JOLKKHY JOLLZL WHYZSL` ILLY IYLHK L_WSVYPUN [OL IPY[OWSHJL VM -HKV TV\YHYPH
Z[OHZO L +- QT dpuf).

  0U [OL MVSSV^PUN `LHYZ 4V\YHYPH OHZ PUJYLHZPUNS` ILJVTL H YLMLYLUJL PU [OL JVU[L_[ VM [OL JP[` VM 3PZIVU :V OH]L

  • HTPSSH >H[ZVU»Z WPJ[\YLZ PU WHY[PJ\SHY [OL ^VYR ^P[O [OL LSKLYS` YLZPKLU[Z 0U H -YLUJO HY[PJSL MYVT ¸3PZIVUUL sH IV\NL THPZ Vƒ&¹ [OPZ Z[YLL[ HY[ ^HZ JHSSLK \YIHU WVL[Y` O[[W! ^^^ S_MHJ[VY` JVT ÄJOLPYVZ UV[PJPHZ PTWYLUZHF WKMF I K IK WKM An article from 2013 recognizes the duality of Mouraria where “Some of the white walls were peeling while others had fresh paint”. Beyond the interpretation of the pictures, interviews with the photographer were also undertaken where she gives her own understanding of the connection between the elderly and the walls and the wish to

  IYLHR [OL IHYYPLYZ VM H NHSSLY`! ¸/LYL L]LY`VUL»Z H WHY[ VM P[ ,]LY`VUL HWWYLJPH[LZ P[ ILJH\ZL P[»Z V\[KVVYZ¹ 0U OLY

VWPUPVU [OL ]PZP[VYZ SPRL P[ ]LY` T\JO ILJH\ZL [OL L_WYLZZPVU PU [OL WOV[VZ PZ IL[^LLU [OL Z\IQLJ[Z HUK OLY HUK

  PU [OPZ ZLUZL P[ PZ H MVYT VM NL[[PUN JSVZLY [V [OL JVTT\UP[` O[[W! TH[HKVYUL[^VYR JVT UV[LIVVR SPZIVUZ ^HSSZ HU PU[LY]PL^ ^P[O WOV[VNYHWOLY JHTPSSH ^H[ZVU *VUZPKLYPUN OV^ >H[ZVU HWWYVHJOLK [OL WLVWSL [OH[ ^LYL photographed, she says that the locals were open to being photographed. When the idea of putting the pictures

  VU [OL ^HSSZ JHTL \W [OL ÄYZ[ WLYZVU [OH[ ^HZ HZRLK ^HZ ZVTLVUL ^OVT L]LY`VUL SPRLK <ZPUN SPX\PK LT\SZPVU she tried to the print images directly onto the walls which failed completely, so she decided to print on wood and RLW[ VU KL]LSVWPUN OLY [LJOUPX\L O[[W! ^^^ [HZ[LVÅPZIVH JVT LUN ISVN MHJLIVVR HY[PJSL
=X+5U]T39KN In 2015 most of the buildings in the square where she has her studio were regenerated and tourism became a constant presence. A visitor that stayed there in an apartment wrote: “Each building on the street has a portrait of [OL LSKLYS` YLZPKLU[Z ^OV SP]L [OLYL H ZLYPLZ JHSSLK º( ;YPI\[L [V 4V\YHYPH» I` [OL WOV[VNYHWOLY *HTPSSH >H[ZVU (UK L]LU [OV\NO [OLYL HYL H SV[ VM [V\YPZ[Z HUK L]LY` UV^ HUK HNHPU H ^HSRPUN [V\Y NVLZ [OYV\NO V\Y ZX\HYL [OLYL»Z H ZLUZL VM JVTT\UP[` HUK H SHPK IHJR ^H` VM SPML OLYL [OH[»Z ZV HWWLHSPUN¹ O[[W! WLLRPUNK\JR JV ^LSJVTL [V

TV\YHYPH SPZIVU

6.2 The Visitors

  People who had recently been in Mouraria, that were living in the Lisbon Metropolitan Area, were asked to answer a questionnaire. Many said that although they live in Lisbon, they had never visited the area or only did so when they were very young. We received 22 questionnaires of people that visited Mouraria recently, 14 women and 9 men. The ages were within 50-34 years old. All of them have at least a college degree.

  0U [LYTZ VM UH[PVUHSP[` [OL THQVYP[` HYL 7VY[\N\LZL HUK MV\Y ^LYL MVYLPNULYZ >OLU HZRLK HIV\[ [OL ÄYZ[ [YPW [V [OL neighbourhood the answers were very diverse, and as for the last time they visited, everybody answered 2015 or even 2016. (Z TLU[PVULK I` TVZ[ VM V\Y ]PZP[VYZ 4V\YHYPH ^HZ ZLLU HZ H JSVZLK ºUV NV» HYLH" H RPUK VM NOL[[V HU PUHJJLZZPISL location (narrow streets and no parking facilities with very bad access), unknown, and intriguing; not visitor friendly HUK KLÄUP[LS` UV[ H [V\YPZ[PJ WSHJL ;OL PTHNL [OL` OH]L KVLZ UV[ JVTL MYVT H WLYZVUHS L_WLYPLUJL I\[ MYVT H shared public image of this territory. ;OL ]PZP[VYZ» HUZ^LYZ HIV\[ ^OH[ [OL ULPNOIV\YOVVK ^HZ SPRL PU [OL WHZ[ ^LYL KVTPUHU[S` KLZJYPW[PVUZ VM P[Z social-cultural and economic character. Three related images of the neighbourhood stand out:

  • The run-down Mouraria YLSH[LK [V KY\N [YHɉJRPUN HUK JVUZ\TW[PVU HZ ^LSS HZ WYVZ[P[\[PVU" VSK HUK WVVY YLZPKLU[Z living in dilapidated buildings as well as dirty and dark streets.
  • The authentic Mouraria, the old neighbourhood, the cradle of Fado, with genuine Lisbon residents. A non-touristic area with local shops and small restaurants.

  • The multicultural Mouraria,

  ^P[O P[Z TPNYHU[Z THPUS` MYVT (MYPJH HUK (ZPH SP]PUN PU [OPZ HɈVYKHISL WHY[ VM [OL JP[` When asked about the present characteristics of this neighbourhood, the Mouraria that was described was the

  VUL J\YYLU[S` L_WLYPLUJLK HUK WLYJLP]LK 5L]LY[OLSLZZ [OPZ WLYJLW[PVU OHZ WYVIHIS` ILLU PUÅ\LUJLK I` [OL UL^ \ZLYZ HUK [OL TLKPH (U L]VS\[PVUHY` WYVJLZZ PZ L]PKLU[ ^OLYL [OL [OYLL PTHNLZ WLYZPZ[ I\[ ^P[O H KPɈLYLU[ importance:

  • The authentic Mouraria, the neighbourhood of the old residents and strong community relations, is now accessible and valued as the main characteristic of the area. The perceived atmosphere of the old traditional neighbourhood, the typical small restaurants (tascas

  HUK [OL -HKV HYL HSS OPNOSPNO[LK ;OL VSK I\PSKPUNZ UV^ ILJHTL [OL YLÅLJ[PVU

VM [OL H\[OLU[PJP[` VM [OL ULPNOIV\YOVVK UV[ `L[ HɈLJ[LK I` [OL [V\YPZ[ PUK\Z[Y` HUK THPU JVTTLYJPHS IYHUKZ

  • The multicultural Mouraria stands out now as a tolerant ambience and culturally rich with new restaurants and L]LU[Z HZZVJPH[LK [V [OL KPɈLYLU[ JVTT\UP[PLZ
  • The run-down Mouraria [OH[ Z[PSS L_PZ[Z HUK PZ HJ[\HSS` YLPU[LYWYL[LK (S[OV\NO WYVISLTZ ^P[O JYPTL HYL Z[PSS PKLU[PÄLK by the local population, it does not seem to have a big impact on the visitors not only because it is probably less visible in the areas where the visitors move, but also because their attitude enhances the positive features. Mouraria, as it is revealed to the outside, is undergoing a process of change: as underlined by the visitors, new people come because it is cheap, there is a new vitality, a new kind of public and tourists, there are more social HUK J\S[\YHS L]LU[Z SPRL KPUULYZ JVUJLY[Z VWLU HPY JPULTH L_OPIP[PVUZ HUK JVTTVKP[PLZ 9LZ[H\YHU[Z HUK JHMLZ

  VM H OPNOLY X\HSP[` HUK WYPJL YHUNL HYL UV^ VU VɈLY ;OVZL PU[LY]PL^LK HSZV TLU[PVULK [OL MHJ[ [OH[ UV^ [OLYL ^HZ more diversity and more young people. It became safer both by day and night, which brought more people in from outside. It is becoming a trendy area where people go for leisure. When the visitors were asked what they thought about the photographs, some did not pay much attention, did not notice, or had no opinion, either because they usually go by night or the photos do not represent a reference for them. Most respondents were quite positive and clear about the purpose of this art intervention and three main characteristics were mentioned: ;OL VWPUPVUZ LUOHUJLK [OL ZVJPHS TLHUPUN VM L_OPIP[PUN YLZPKLU[Z ^P[O HU PTWVY[HU[ ZPNUPÄJHUJL MVY YLZPKLU[Z and visitors. According to the statements, this is a form of presenting the neighbourhood from within, honouring the longstanding residents, showing that they matter and making them feel proud of their history and thus preserving as much as possible their authenticity by strengthening and increasing their identity. As underlined by this statement “I Like them because they show us the neighbourhood from within, the people that really live there; HUK P[»Z NVVK MVY [OVZL WLVWSL [V ZLL [OH[ [OL` TH[[LY HUK [OH[ LHJO ULPNOIV\YOVVK PZ THKL VM [OL WLVWSL [OH[ SP]L there, they are the most important thing, whoever they are, age, gender...”. Another testimony says “It is important for residents and for visitors. Actually when we were there some residents proudly showed us the photos. Clearly it is strengthening and increasing their identity.”

  2. Respondents frequently mentioned the way the work contributed to the perception of public place, for instance enjoyment (lively, stimulating, and interesting) as well as pleasantness (attractive, beautiful, pleasant, and inviting) were enhanced. Interestingly, it was felt that the work transmits a sense of intimacy and awakens a curiosity to ÄUK TVYL WOV[VNYHWOZ

  3. When asked if they felt that this art was an anchor-point for Mouraria, although not everybody agreed, the ones who gave a positive answer made not only a spatial reference but also a temporal one. The photos were seen as a spatial reference in the area, becoming part of the street and of the neighbourhood landscape. An interviewee said that this work represents something which makes Mouraria stand out from other neighbourhoods. For the passer-by it feels like entering a community with familiar faces, which can be reassuring. In view of the temporal dimension it was pointed out that, “they act like a bridge between knew and old, acting as H ^H` VM JVTT\UPJH[PVU IL[^LLU KPɈLYLU[ J\S[\YLZ HUK IL[^LLU KPɈLYLU[ NLULYH[PVUZ ¹ 0[ PZ PU[LYLZ[PUN [OH[ [OL ephemeral character of this work is not perceived or is often forgotten by the observer who refers to this work as a form of suspending a certain time on the walls, “a legacy to be preserved and treasured”, “it crystallizes moments in time that soon will disappear, taking into account the age of the photographed” and that “they will always be a historical and cultural reference”.

6.3 The Residents

  • P]L YLZPKLU[Z ^LYL PU[LY]PL^LK MV\Y YLZPKLU[Z [OH[ WHY[PJPWH[LK PU [OL HY[PZ[PJ ^VYR HUK ÄUHSS` ZVTLVUL that approached us. She was pleased to provide information about the photographer, the people who were photographed and about the neighbourhood. When asked if she was represented on the walls, the old lady stated that she was invited to participate but did not want to. Although living there for a long time, she likes to keep a JLY[HPU KPZ[HUJL (Z ZOL L_WSHPUZ ¸0 KV UV[ SPRL [V ZWLUK T` [PTL PU [OL Z[YLL[Z HUK PU [OL JHMtZ JOH[[LYPUN HIV\[ LHJO V[OLY HUK L_WVZPUN T` SPML ¹ ;OL V[OLY MV\Y PU[LY]PL^LLZ HSS OH]L PU JVTTVU [OL MHJ[ [OL` OH]L ^VYRLK PU local commerce (tavern, shoemaker, drugstore and restaurant). When questioned about the evolution of Mouraria in recent years, it is interesting to note that although some start by saying that everything has changed and one states it all remains the same, by the end there is an overall concordance in their points of view.

  The character of the old quarter, the human relations and the lack of parking areas are aspects that according to these longstanding residents remain. Although there have been some improvements, the lack of

ZLJ\YP[` HUK JVU[PU\PUN WYVISLTZ HZZVJPH[LK ^P[O KY\N [YHɉJRPUN ^LYL HSZV YLMLYYLK [V

  (JJVYKPUN [V [OL PU[LY]PL^LLZ [OL WYL]HPSPUN MLH[\YL VM [OL UL^ ULPNOIV\YOVVK PZ [OL L_PZ[LUJL VM H [LTWVYHY` population. Bearing in mind that the respondents work in local trade, tourism is generally seen as positive, but [OL` [OPUR [OH[ [OL WYVSPMLYH[PVU VM HWHY[TLU[Z MVY [LTWVYHY` \ZL I` [V\YPZ[Z TH` HɈLJ[ [OL JVTT\UP[` ;YHKP[PVUHS commerce has been substituted by restaurants as well as other types of outlets or is being run by immigrant communities that are present in the area. Another mentioned aspect was the rise of rents. From these interviews, and taking into account the fact that that all the contacted people were elderly with a SVUNZ[HUKPUN YLSH[PVUZOPW ^P[O [OL ULPNOIV\YOVVK P[ PZ PU[LYLZ[PUN [V UV[L [OH[ ^OLU [HSRPUN HIV\[ [OL WHZ[ KPɈLYLU[ periods are referred to. This can be seen in the following quotation from a resident that has lived in Mouraria for forty years and has worked there for seventeen:

  Practically everything has changed. There was the traditional trade, most of these houses closed. A few years ago it had a lot of life, then it died, everyone was stuck in their homes. Now we have customers who HYL OLYL \U[PS TPKUPNO[ [OL Z[`SLZ HYL KPɈLYLU[ [OHU ILMVYL 0 OVWL [OLYL ^PSS IL UV IHYZ P[ PZ H WP[` PM [OH[ JVTLZ [V [OPZ HYLH ^P[O L]LY`[OPUN P[ IYPUNZ ¶ OLYL [OLYL PZ Z[PSS H SP[[SL IP[ VM ZLJ\YP[` 0 KVU»[ TPUK TVYL trade, more restaurants… When asked about the photographic intervention they all consider to be positive, highlighting its importance for the people visiting the neighbourhood. As time goes by the inhabitants seem to have got used to

  [OL WPJ[\YLZ VU [OL ^HSSZ ;OL [^V TLU PU[LY]PL^LK Z[H[LK [OH[ [V IL L_OPIP[LK OHK UV NYLH[ ZPNUPÄJHUJL MVY [OLT and according to one of them it is something that only people from outside the neighbourhood value. The female residents interviewed appeared, in a rather discreet way, to be pleased about being part of the photographic work. One admitted that the suggestion of putting an image of her on the wall came from herself: “I do not like to see my photos but I found the idea of having our photograph on the wall funny. I really like seeing the dispersed WOV[VNYHWOZ 0 [OPUR P[»Z UPJL¯ :VTL VM [OL WLVWSL OH]L WHZZLK H^H` ¹ One of the interviewees stated that she likes to show the photographic work to people, in particular her picture to family or friends who visit her. She also stated that she likes the photos, the interest that the tourists show and the fact of being recognised by them.

  Given that over time the pictures will disappear, this is viewed with pity but accepted as normal. When HZRLK PM P[ ^V\SK IV[OLY OLY PM [OL WOV[VNYHWOZ ^V\SK UV SVUNLY L_PZ[ VUL VM [OL PU[LY]PL^LLZ Z[H[LK PU H WYHNTH[PJ way, that nothing lasts forever. Focusing on the importance to the character of the street, another resident said that it would be a shame to let the photos “die” because they give a certain interest to the streets, something that awakens the attention to the people passing by.

7. Discussion: Does Watson’s Work have an Impact on the Production of Space?

  ;OL WYLZLU[ HUHS`ZPZ VM HU HY[^VYR PU [OL W\ISPJ YLHST OHWWLUZ PU H JVU[L_[ ^OLYL [OL WSHJL ^OPJO OVZ[Z [OL projects, the neighbourhood of Mouraria, is undergoing socio-spatial transformations. The city itself is going [OYV\NO WYVMV\UK JOHUNLZ ILJVTPUN MHZOPVUHISL HUK PUJYLHZPUNS` UV[PJLK PU [OL PU[LYUH[PVUHS JVU[L_[ HZ H [V\YPZ[ destination, enhancing its traditional and historical character but at the same time the creative and trendy scene.

  0U [OPZ JVU[L_[ VSK ULPNOIV\YOVVKZ OH]L JVU[PU\LK [V NHPU WYVTPULUJL HZ [LYYP[VYPLZ MVY JVUZ\TW[PVU ^OLYL [OL whole landscape is to be gazed upon and where visitors search for the “picturesque”, the “authentic” and the “typical”. ;OL ZHTL ZWHJL PZ WYHJ[PJLK PU KPɈLYLU[ ZWH[PHS HUK ZVJPHS YLHSP[PLZ [OH[ VM[LU V]LYSHW I\[ KV UV[ JVPUJPKL ;OL Mouraria practiced by the residents is predominantly during the daytime routines rooted within the space and the social surroundings. The Mouraria practiced by the visitor is shallower but fresher and frequently occurs by night. ;OL ^H` [OL PU[LY]LU[PVU VM *HTPSSH >H[ZVU HɈLJ[Z [OL L_WLYPLUJL VM ZWHJL PU [LYTZ VM OV^ P[ PZ WLYJLP]LK conceived and lived is connected above all with the relationship that is established with the neighbourhood, for some it takes place within the routine spaces of their daily lives, for others in their places of leisure.

  7.1 The visitor’s Experience

  The artistic intervention, by its particular characteristics and by the way it merges with the space, interferes with [OL ]PZP[VY»Z representational dimension of space. For the visitor they gain visibility, by the unusual act of having WPJ[\YLZ L_WVZLK V\[KVVYZ VY I` [OL KPZJSVZ\YL NP]LU [V [OPZ ^VYR >OL[OLY MVY P[Z HY[PZ[PJ VY ZVJPHS PU[LYLZ[ [OPZ photographic work undeniably participates in the new image of the neighbourhood.

  The spatial concentration of the intervention within a particular part of Mouraria overlaps with one of the zones with more restaurants and new outlets (art galleries, ceramic shop, vintage shop), regenerated houses and renewed W\ISPJ ZWHJLZ KLÄUPUN H ^LSJVTPUN HUK ZHML WHY[ VM [OL ULPNOIV\YOVVK ;OL PTHNLZ YLSLHZLK I` [OL TLKPH JVTIPULK ^P[O SLPZ\YL L_WLYPLUJLZ VM ZWHJL JVUÄYT [OL X\HY[LY HZ TVYL open, authentic, multicultural and creative. The art participates in the space cohesion, linking the area within the ULPNOIV\YOVVK HUK PU [OL PKLU[PÄJH[PVU VM [OL NLU\PUL I\[ ZLJ\YL ZWHJL

  7.2 The Resident’s Experience

  The artistic intervention in this study appears to be clearly integrated in a particular setting, which more than hosting this particular art project, is the element of its production. As we were able to capture from the interviewed

YLZPKLU[Z P[ KVLZ UV[ ZLLT [V HɈLJ[ [OL ^H` [OL` WLYJLP]L HUK WYHJ[PJL ZWHJL PU [OLPY KHPS` SP]LZ

  It is interesting that before the presence of people from the outside, the images gain value as an element of pride, YLWYLZLU[PUN H UHYYH[P]L HIV\[ [OL ULPNOIV\YOVVK HɈLJ[PUN [OL TLHUPUN NP]LU [V [OH[ ZWHJL YLWYLZLU[H[PVUHS space) and the way the space is described (representation of space).

  ;OL WOV[VNYHWOZ HWWHYLU[S` LUK \W OH]PUN H ZPTPSHY M\UJ[PVU [V MHTPS` WVY[YHP[ PU H SP]PUN YVVT VM H OVTL L_WVZPUN moments with visitors, giving clues about the identity of those who live there and also those who have left.

7.3 Conclusion

  >H[ZVU»Z WOV[VNYHWOZ ZLLT [V IL PUL]P[HIS` WHY[ VM [OL ^H` [OL ULPNOIV\YOVVK PZ WYLZLU[S` L_WLYPLUJLK ZPUJL her work is seen as something which makes Mouraria stand out. The work is an intrinsic element of the past, I` L_WVZPUN [OL SVUNZ[HUKPUN YLZPKLU[Z JYLH[PUN HU LTWH[O` ^P[O [OPZ JVTT\UP[` HUK [OL UL^ YLWYLZLU[H[PVU associated with a trendy scene. Her work, particularly the one dedicated to the elderly, became invariably a reference point in the area and is often referred to in the touristic circuit as one of the main points of interest in the territory.

  ;OPZ HY[^VYR PZ L_WLYPLUJLK I` ]PZP[VYZ PU HU LTV[PVUHS ^H` ÄYZ[S` I` IYLHRPUN [OL PTHNL VM H Y\U KV^U HYLH HUK ZLJVUKS` I` JYLH[PUN H SL]LS VM WYV_PTP[` ^P[O [OL VSKLY YLZPKLU[Z 0U [OPZ ^H` P[ M\SÄSZ P[Z PTHNPUHY` VM ILPUN JSVZLS` connected to the local identity of Mouraria.

  6]LY [OL JV\YZL VM [OPZ ULPNOIV\YOVVK»Z [YHUZMVYTH[PVU [OL HY[PZ[PJ PU[LY]LU[PVU VM *HTPSSH >H[ZVU WHY[PJPWH[LZ PU [OL KPɈLYLU[ KPTLUZPVUZ VM [OL WYVK\J[PVU VM ZWHJL I` ILPUN WHY[ VM OV^ [OPZ JVU[PU\V\Z WYVJLZZ VM ULPNOIV\YOVVK JOHUNL PZ L_WLYPLUJLK 0U [OPZ ^H` P[ OHZ NLULYH[LK UL^ UHYYH[P]LZ JYLH[PUN PTHNLZ [OH[ ]HSPKH[L HUK \S[PTH[LS` consolidate the social representation of space.

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+H]PK :[LH ,KZ Image and environment. Cognitive mapping and spatial behavior (pp. 109-114). Chicago: Aldine Pub. Co. Costa, A. F. (1999). Sociedade de Bairro – Dinâmicas Sociais de Identidade Cultural. Oeiras: Celta. Finkelpearl, T. (2001). Dialogues in public art. Cambridge, Mass.: MIT Press. Hall, T., & Robertson, I. (2001). Public Art and Urban Regeneration: Advocacy, claims and critical debates. Landscape

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  1HU\JO[H :aVZ[HR ( ;OL 9VSL VM 7\ISPJ =PZ\HS (Y[ PU <YIHU :WHJL 9LJVNUP[PVU 0U 2 7LY\ZPJO ,K

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  WW 9PQLR *YV[PH! 0U;LJO 9L[YPL]LK MYVT O[[W! ^^^ PU[LJOVWLU JVT IVVRZ

JVNUP[P]L THWZ [OL YVSL VM W\ISPJ ]PZ\HS HY[ PU \YIHU ZWHJL YLJVNUP[PVU

  Lefebvre, H. (1991 [1974]). The Production of Space [YHUZ :[L]LU 5PJOVSZVU 3VYK 6_MVYK! )SHJR^LSS Miles, M. (1997). Art, space and the city. London: Routledge.

  Rapoport, A. 1990 [1982]. The meaning of the built environment - a non-verbal communication approach. University Arizona Press. Remesar, A. (1997). Public Art: Towards a Theoretical Framework. In A. Remesar (Ed.), Urban regeneration (128- 140). [Barcelona]: Universitat de Barcelona. Seamon, D. (1979). A geography of the lifeworld. Movement, Rest, Encounter. London: Croom Helm. Sharp, J., Pollock, V., & Paddison, R. (2005). Just art for a just city: Public art and social inclusion in urban regeneration. CURS, 42

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